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Also available on Vinyl LP
Marisa - Marisa
whatmusic.com
£14.99
whatmusic.com presents ‘Marisa’, the 1960s classic from singer Marisa Gata Mansa & pianist/arranger Cesar Camargo Mariano!
  • First ever worldwide release!
  • Tracks include ‘Chuva’, ‘Lena’ & ‘Despedida de Maria’!
  • Features Jongo Trio & Cesar Camargo Mariano’s Som Tres!
  • Exclusive new liner notes

Check the 30 second clips from the album...

01 EU SÓ QUERIA SER 3:08
02 CIUMINHO 2:07
03 CHUVA 2:58
04 SONHO DE CARNAVAL 2:52
05 SÓ UMA CANÇÃO 2:11
06 LENA 2:24
07 ESTRELA DO MAR 2:34
08 IMENSO DO AMOR 2:44
09 GOSTAR OU NÃO GOSTAR 2:46
10 ESTÓRIA DE VOCÊ 3:50
11 DESPEDIDA DE MARIA 3:36
12 MANHÃ DE NÓS DOIS 2:02

The whatmusic.com interview...

marisamba!

In 1971 Equipe released this LP by Marisa Gata Mansa and her then husband Cesar Camargo Mariano; in the liner notes Franco Paulino enthused about the incredible relationship between the outgoing singer and the shy genius pianist/ arranger. Within 12 months Mariano would be the shy genius pianist/arranger to another dynamic outgoing singer – Elis Regina, and the rest, as they say, is history. This album marks the emergence of Mariano the sensitive arranger, moving away from the bombast of his backing for Wilson Simonal, and towards what would be become the classic sound of MPB arrangements behind female vocalists. Marisa Gata Mansa for her part was one of those singers from the late 50s like Elizeth Cardoso, Claudette Soares and Doris Monteiro – the nightclub crooners who saw the future being bossa. However unlike the others mentioned here, Marisa hadn’t recorded an LP since 1967 and this was her big chance to show the path she would take into the new decade of the 1970s. From her new ‘debut’ on Equipe Marisa moved on to Odeon – the second biggest label in Brazil at that time. Mariano went on to worldwide fame as an arranger and with his group São Paulo Brasil.

Original Liner Notes from EQC 855

Marisa shows all of her optimism in the little things that she says and does. Cesar is the same (although I have to confess that I only know him a little). It’s because of this that these two make up one of the greatest musical couples around. And one of the most ‘human’, too.

I think it necessary to explain how they came to know each other, how they met and how this record came about. It’s an important record because it marks Marisa’s return to recording after an absence of 4 years – and because it’s the debut of Cesar Camargo Mariano as an arranger.

Cesinha I’ve known since the days when he ran with the ‘Ritmo da Juventude’ crowd. This modernised samba sound had little or no public to speak of in São Paulo, but there were a lot of individuals who followed it, nevertheless. By the time that a real musical ‘movement’ had come about it was the 17 year old Cesar who already stood out amongst the multitude of professionals. This is because Cesar, behind the timid mask, differently or indifferently, always played samba in a most advanced and highly original manner.

Well, it wasn’t long before Cesar’s name began to be passed around musical circles as ‘a pianist that swings in a way you won’t believe…’

And, well, again, it wasn’t long before Cesar launched a second career path as an arranger, with works by (and thanks to) his friends who encouraged him; and above all that enthusiastic workaholic Oswaldo Cadaxo. Indeed, the Cesar that I knew as a kid is the same Cesar on this record, but now grown into his fame as a great pianist, still with his modesty intact, that same shyness but above all with the desire to succeed.

Marisa, irreverent, spirited and with an innate intelligence already has her place in the pantheon of our most modern singers. But then again I’m completely the wrong person to be talking of Marisa – totally convinced fan that I am! What is worth pointing out is this: except for certain individuals the mentality of those involved in record production these days has not evolved in the most intelligent manner possible. And it’s for this reason that this album is so important. Both of them – Marisa and Cesar Mariano – reached a kind of maturity when they were playing together one night; when she was singing and he was her accompanist. The results of this personal interaction show themselves prominently on this LP, on which, incidentally, Marisa and Cesar Camargo also debut as joint composers – tuneful, sensitive and hip. On ‘Lena’ it’s Marisa’s voice in unison with sax and guitar that most reflects the tone of this record, the common aspect of which is its lyricism. Another of her excellent interpretations here (and I hope that you the listener also agree) is ‘Éstoria de Você’, which features an added beauty on Cesinha’s part which totally validates Marisa’s interpretation.

In parentheses, I would also point out the following: the 22 year old Cesar makes a point of declaring that these works are ‘only the starting point in my career’, which apart from showing his modesty, is an important point to remember, especially when you consider that our own modern music is itself in the ‘experiential’ phase. You can tell this because most of what is presented to us as definitive works, of elaborately constructed music, is in fact merely mediocre.

On ‘Éstoria de Você’ by Walter Santos & Tereza Souza it should also be noted that the arrangement, apart from its simplicity, is also direct and functional – the only thing that differs at the end from the intro is the subtle phrase repetition by the strings. Listen too, to get an idea of these two young artists’ identity, to the arrangement that Cesar has written for their song ‘Manhã de Nós Dois’ – a recent composition. It’s here that Marisa sings, communicates and exemplifies their world together.

These arrangements therefore constitute an experience, a measure by which they have reached two important finalities: they give an uncommon support and a special value to Marisa’s interpretations.

With some variation, Cesar uses 9 violins, 4 violas, 2 cellos, flute, trumpet, tenor sax, guitar, piano, acoustic guitar, bass and drums.

On the tracks ‘Eu Só Queria Ser’, ‘Sonho de Carnaval’, ‘Despedida de Maria’, ‘Gostar ou Não Gostar’, the accompaniment is by the acclaimed Jongo Trio and you know that when Sabá on bass, Cidó on piano and Toninho on drums are let loose in the studio, you’re guaranteed the best groove around. Me, I totally believe in the Jongo Trio! This LP marks the return of Marisa Gata Mansa to recording, and Marisa, my dear friends, is a singer full of fire and truth. And this is a record made with love.

And I guess it doesn’t hurt to mention (to those who don’t know it) that Cesar and Marisa are companions in every possible way!

Franco Paulino


Musicians

Violins
Clemente Capela (Spalla), Luiz Afonsi e Elias Slon, Caetano Finelli, Oswaldo Sbarro e Loris Pinheiro, Jorge Salim, Mario Tomassoni, Carlos del Papa e, Doriza de Castro Soares, Lorinao Rabarchi & Miguel Caraciolo

Violas
Peres Dworecki, Bela Mori, Antonio Burini & Helio Battini

Cellos
Frederico Capella & Lauro del Ciaro

Percussion
Clineu Goncalves

Flute Rosario de Caria

Electric Guitar
Angelo Apolonio

Sax
Izodoro Longano

Trumpet
Magno D’Alcantara


Special Guests
Jongo Trio
Cido – Piano & vox
Sabá – Bass & vox
Toninho – Drums & vox

Tracks: A1, A4, B3 & B5

Cesar Camargo Mariano – acoustic guitar & piano
Sabá – Bass & vox
Toninho – Drums & vox

Tracks: A2, A3, A5, A6, B1, B2, B4 & B6


Produced by Oswaldo Cadaxo & Cesar Camargo Mariano

Cover & Layout by Mauricio

Remastered by Luigi Hoffer at Digital Mastering Solutions Rio de Janeiro July 2002

Special thanks to Américo & Durval Ferreira


©2002 whatmusic.com
£14.99
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